NEW YORK, NY.- Anthony Van Dyck emerged as a dominant force in portraiture around 1617. He was admitted to the Antwerp Guild, working under Rubens, and traveled extensively in England and Italy, returning to Flanders for brief periods while working mainly as a court painter. Van Dyck’s influence on painting during this time is evident, and despite the lack of direct mentorship, Nicolaes Maes became one of his star pupils.

Nicolaes Maes was born in January 1634 in Dordrecht, a coincidence since this is one of the few years that Van Dyck spent in Antwerp. Maes’ family was well-off, likely supporting him in his pursuits as an artist and introducing him in the right circles. Around 1648, Maes moved to Amsterdam and entered Rembrandt’s studio, where he remained for about five years. By 1653, two years after Van Dyck's death, Maes returned to Dordrecht and established himself as an independent artist.

Maes was greatly influenced by Rembrandt, particularly in his use of light, and his early works demonstrate his devotion to his master’s craft. However, in the late 1650s, Maes traveled to Antwerp, where he studied the work of Rubens, Van Dyck, and Jacob Jordaens. It is said that he spoke at length with Jordaens about painting, which seemed to have sparked a noticeable shift in his style, aligning more closely with the refined elegance seen in Van Dyck’s portraits.

By incorporating Van Dyck’s stylistic features, Maes not only expanded his repertoire but also elevated the status of his own portraiture, enhancing the perceived status of his sitters. This adaptation in style cemented his importance in the competitive art market of the time. Maes’ portraits became highly in demand, sealing his legacy as a master portraitist, particularly of children. The grace and sophistication applied to Van Dyck’s adults were mirrored in Maes’ portraits of children. Whether this was a smart business move or a personal passion is unknown, but it undoubtedly increased his demand even further.

Nicolaes Maes’ ability to weave the influences of both Rembrandt and Van Dyck into his works made him a celebrated artist of the 17th century. His child portraiture still carries a joie de vivre unmatched by other artists. Maes' ability to absorb the talent of these two once-in-a-generation talents and adapt their ideas to his own works prompts the intriguing question: what if he had been inspired by a third?

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